100 Essential Films That Deserve More Attention - 55. The Boxer and Death

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

The Boxer and Death
Director - Peter Solan

Country - Czechoslovakia

Year - 1963

Runtime - 120 minutes

The resourcefulness of those persecuted by the Nazis during the Holocaust coupled with the serendipitous nature of possessing a certain skill, craft or trade that helped the oppressed survive has been the central conceit for many profound war films. Roman Polanski's The Pianist and Stefan Ruzowitsky's The Counterfeiters feature protagonists who are saved from horrific fates thanks to their usefulness to the cruel authorities who oversee the concentration camps or ghettos they are detained in. Those who survived to see another day in such abominable places were destined to pay a terrible price as the guilt and remorse of seeing their close companions taken to the gas chambers inevitably weighed heavily upon their emotional state of mind.

An overlooked Czechoslovakian film that explores this very notion is Peter Solan's moving drama from 1963, The Boxer and Death. It tells a powerful tale of a Jewish pugilist, Jan Kominek (Stefan Kvietik), whose life is spared when a Nazi commandant fond of boxing, Kraft (Manfred Krug) - who is in charge of the concentration camp where Jan is captive - takes Jan for his sparring partner. Jan is given extra food to gain weight and increase his strength for these sparring matches but this advantageous position causes friction between the boxer and some of the other camp's inhabitants. As well as facing hostilities from his peers, Jan also struggles when facing Kraft in the ring. He understands that it is important not to overstep his mark when throwing punches and this proves to be a difficult undertaking. Jan is presented with the perfect opportunity to take out his frustrations on the commandant and his true feelings threaten to bubble up to the surface as the bouts increase in intensity.

A mutual yet tenuous bond of respect and, to a certain degree, friendship is formed between these two men as they train together. The vast differences in their circumstances prevents a genuine connection from ever being possible given the situation but it is fascinating to see how their time spent boxing together becomes an important release for both of them. It provides Kraft with a way to flex his power and indulge his domineering nature on a weaker man, whilst also allowing him to feel good about helping out someone in desperate need of hope, and it encourages Jan to quite literally fight for a chance to make it through the oppressive Nazi regime with his body and soul intact.

Kvietik imbues his character with an innate hunger for survival that is demonstrated wonderfully in an early scene where he defies Kraft by dodging punches which are being inflicted upon him due to a failed escape attempt. This is the incidental but defining moment that acts as a catalyst for Jan, bringing his attention to Kraft and initiating a gradual change in his outlook through the boxing that enables his strength and hope to return. Krug is equally as compelling as Kraft, showcasing a human side to a man who has been swept up by the spread of Nazism and begins to display signs of doubt surrounding the final solution. Both actors possess a natural skill in the ring that lends credence to their exceptional performances, and the vigorous boxing bouts are capable of holding your attention as much as the scenes which deal with the weightier themes of the Holocaust.

In addition to the exceptionally choreographed fight scenes where Jan faces up to Kraft, he is constantly portrayed as battling his own personal demons and this is represented by the stunning cinematography and direction by Peter Solan. Smoke engulfs Jan as he trains near the camp's chimneys in a sombre and haunting sequence, momentarily clouding his judgement and adding to his inner turmoil, whilst also serving as a stark reminder that he is clinging on to life by the smallest of threads. This is powerful film-making, rife with thought-provoking symbolism and poignant, evocative shots that allude to the horrors of war without resorting to depicting the full graphic extent of the barbarity that took place at these camps.

Like the aforementioned films which tackle a similar subject matter, The Boxer and Death is an emotionally draining yet essential viewing experience, albeit one that has sadly slipped into obscurity. It may be a harrowing tale about the atrocities of war but it is also a stirring sports drama, an intimate character study, and a thrilling struggle between two men with radically opposing views. Films as potent as this deserve to reach a much wider audience; the valuable lessons contained within are impressed upon the viewer with a deftness of touch that is rare given the provocative nature of the troubling time in history it depicts. Solan has crafted a memorable film with an important message and a gripping storyline that resonates on a deep level as we contemplate the eternal scarring suffered by those who survived through such a horrific, life-altering ordeal.

If you take the time to watch The Boxer and Death then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 54. I'm Not Scared

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

I'm Not Scared
Director - Gabriele Salvatores

Country - Italy

Year - 2003

Runtime - 108 minutes

I'm Not Scared is a chilling mystery as seen through the eyes of Michele, a nine year old boy who lives in an idyllic pastoral village in the Italian countryside. Whilst out playing with his friends, Michele uncovers a bloodcurdling secret and his inquisitive nature lands him in a dangerous situation when he returns alone to investigate further. At first, Michele keeps his discovery a secret from his parents and friends. However, as his actions of kindness towards a stranger grow bolder, Michele's risk of being caught by the perpetrators of a heinous crime increases and threatens to derail his family's peaceful existence.

Director Gabriele Salvatores adapted this enthralling story from the successful novel of the same name by Niccolo Ammaniti and brought his sublime vision of the loss of childhood innocence to life with vivid detail. This is a beautifully realised amalgamation of a childhood fantasy with a disturbing crime story in a sumptuous setting that provides an enchanting backdrop to the proceedings. Visceral tracking shots of Michele and his friends frolicking in tall wheat fields at the start of the film evoke the magic of happy childhood memories and culminate in a demonstration of Michele's strength of character as he stands up for a girl who is being bullied. These relatively carefree times are soon to be disrupted by a life-changing set of circumstances and the subsequent crescendo to the film's revelatory finale is as enthralling as its heartstopping conclusion.

In child actor Giuseppe Cristiano, Salvatore found the perfect combination of innocence and curiosity that drives a spirited performance with real conviction in his portrayal of Michele. Cristiano tackles a range of challenging scenes, particularly when Michele witness his mother being assaulted, and brings a sense of stoicism to his role - a trait that only a child who doesn't fully comprehend the seriousness of the situations he finds himself in is likely to exhibit. Michele is a boy who will captivate your heart, and Cristiano's superb depiction of the film's central character brings a raw emotional hook that propels the picture into the realm of greatness.

Trouble rears its head when Michele's father, Pino, is visited by an intimidating friend from the city and Michele is forced to share his room with the unwanted guest. This is the catalyst for Michele's rebellious streak to develop further and is the cause for a heated confrontation with his mother, Anna. Both parents are attentive to the needs of Michele and his younger sister, Maria, giving gifts and introducing games to see who has to fetch the wine for the table (a game that is revisited later in the film with horrific consequences) but you can sense a shift in mood with the arrival of Pino's intimidating visitor.

Dino Abbrescia provides a real intensity to his performance as Pino; wrestling with his parental
responsibilities and the uncompromising situation he finds himself in. Aitana Sanchez-Gijon shines as Anna, trying to hide her growing concern about the appearance of her husband's dangerous friends and struggling to contend with her son's new found defiance. With Michele's home life being disrupted in this manner it is no wonder he retreats to the fantasy world in his imagination, or the ramshackled farmhouse in which he makes his startling discovery, so often.

Vibrant strings collide with the buzz of crickets as the rousing score appears to harmonise with the natural sounds of the countryside. The stirring music lifts the film's key scenes by inducing a state of alertness in the audience; ushering in a playful urgency as characters flee from danger or a jubilant sense of freedom as children run wild in the fields. A recurring motif is strengthened as the film progresses and this serves to heighten the impact of the gripping denouement when its sorrowful melody strikes up for one last time. This is a soundtrack awash with music that delights and haunts in equal measure - a fitting partner to the tumultuous yet mesmerising events we witness on screen.

It is fascinating to see the actions of criminals interpreted by a young boy and traumatic to learn of the twisted lies they tell to another. There are some cruel and malicious men at the centre of this compelling mystery and this allows Michele's virtuous nature to illuminate the darkness he finds along his journey of discovery. The stunning vistas of the endless wheat fields are eerily reminiscent of the imagery we associate with the Elysian Fields. A revered place reserved for the virtuous and heroic in Greek mythology, and a place that seems like the perfect setting for Michele's brave and selfless deeds. With I'm Not Scared, Salvatores has crafted a sublime work of art; a captivating and suspenseful mystery full of wonder and danger that is delivered in a style befitting of the unforgettably poignant tale it presents.

If you take the time to watch I'm Not Scared then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 53. Billy Budd

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Billy Budd
Director - Peter Ustinov

Country - UK

Year - 1962

Runtime - 123 minutes

Peter Ustinov was famed for his terrific performances in front of the camera but his stints behind the camera have sadly been largely forgotten. His crowning achievement as a film director is the remarkable tale of Billy Budd, a thrilling showdown of good versus evil set on tempestuous high seas when England and France were at war in the late 1700s. Terence Stamp stars in the titular role as a naive young sailor who is commandeered from the merchant ship he works upon by a passing British war ship. His innocent and charming ways make waves with his new crew but also bring unwanted attention from the cruel master at arms, John Claggart (Robert Ryan), who uses any excuse to punish his subordinates and delights in flogging repeat offenders.

Budd's frank and optimistic outlook on life is instantly endearing. He may not be the most intelligent sailor but the Bristol born lad is hard-working and it is clear that his heart is in the right place, leading us to understand why his previous captain was so reluctant to let him go. Stamp's superb portrayal of Budd earned the young thespian an Oscar nomination for Best Supporting Actor, which is no mean feat when you consider it was his big screen debut alongside a number of well established and talent actors.

The interplay between Budd and Claggart is masterfully executed with both Stamp and Ryan delivering astonishing performances and lighting up the screen with their astute characterisations. Stamp's portrayal of Budd's optimism is a stark juxtaposition with Ryan's subdued take on the inherent evil that bubbles under the surface of Claggart. The scenes they share alone on the ship's deck at night offer a fascinating insight into the psychology of both characters whilst providing us with an unrivalled dramatic tension that has the power to leave audiences completely entranced.

The role of Captain Edwin Fairfax Vere is handled by Peter Ustinov, proving he was more than capable of tackling demanding performances alongside his duties as a director. Captain Vere's stoic and steadfast nature serves the crew well but he understands the need for Claggart's cruel practices to keep his men in line. When Billy and Claggart come to blows he is cornered in a very difficult position. Ustinov portrays the sobering effects this challenging predicament has on the captain with a real sense of anguish; he is torn between acting under the rules of the law, or on his and his officer's shared notion of justice.

Searing dramas where underlings question the authority of their leaders often explore the morality of the human condition. Billy Budd is a prime example of this and its storyline inspires hope as you are encouraged to empathise with Budd's plight. He tries to tackle the situation the only way he knows how - by acting with dignity and kindness - even when his fellow man is against him, and this places Budd in a precarious position.

By favouring small scale conflicts amongst a ship's crew over large scale swashbuckling set pieces, Billy Budd delivers a riveting human drama in a fascinating setting that still retains a grand sense of adventure. The acting is tremendous, the story is incredibly engaging, and the impressive cinematography of the ship traversing the ocean is utterly beguiling. This is a first rate British film that delivers plenty of thrills alongside the intricate and emotionally involving examination of ethics and righteousness. By the time the final scene fades into the distance you will have been on a heartwrenching and unforgettable journey that may even convince you to take stock of your own outlook on life.

If you take the time to watch Billy Budd then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here